8017 – Boats

for Bass voice and 8 trombones

1: The Owl and the Pussy-cat

2: Cargoes

3: The Mermaid

Roger Harvey (b1949)/Edward Lear/John Masefield/Traditional

Difficulty: Medium

Price: £35.00

Programme note

These settings were made for a performance by the students of Trinity College of Music in January 2005. The bass soloist was John Savournin.

In the first song the verse tells the sentimental and bizarre love story of the Owl and the Pussy Cat.

In the second Masefield's poem richly describes three very different boats and their cargoes: firstly, the exotic, ancient 5 rank rowing boat with its ivory, animals, scented woods and wine; then a Spanish sailing boat carrying jewels, spices and gold; finally the mechanical rhythm of a British steamer with its mundane hold of cheap metal and firewood.

The traditional verse of the 3rd song is set to a new melody and warns of the dangers of looking too long and hard at a pretty girl. The sailors' superstition that tragedy will befall after seeing a mermaid is proved all too true in this sorry tale.

Performance note
1) The vocal part requires characterising in order to emphasise the portraits painted by the words. This can be done as suggested or as the singer feels comfortable.

The trombone parts need to be elegant and light throughout. Pay particular attention to a good balance between instruments, bringing out the lead lines as necessary and being aware of the vocal line. The style needs to be, in general, rather cheeky and rhythmic with occasions of more sentimentality.

2) The first verse should be flexible and not rushed at all. Keep the accompaniment smooth and cantabile. Make sure that the melody is sung through at B in parts 4/5.
The second verse, though a little faster, should still feel steady and not rushed; aim for elegance and dignity with a rhythmic tautness.
Verse 3 needs to be played in a very mechanical, robotic style; rather clipped and unexpressive. Be careful that the repeated chords do not overpower the singer.

3) Be constantly aware of balance between the voice and trombones especially as the storm brews in later verses and the texture thickens.

The faster chromatic movement in triplets can be played semi-glissando but be sure to articulate the groups clearly.